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UNIVERSITY OF CALIFORNIA Los Angeles Omniscience Incarnate: Being in and of the World in Nineteenth-Century Fiction A dissertation submitted in partial satisfaction of the requirements for the degree Doctor of Philosophy in English by Cristina Richieri Griffin 2015 © Copyright by Cristina Richieri Griffin 2015 ABSTRACT OF THE DISSERTATION Omniscience Incarnate: Being in and of the World in Nineteenth-Century Fiction by Cristina Richieri Griffin Doctor of Philosophy in English University of California, Los Angeles, 2015 Professor Jonathan H. Grossman, Chair Current scholarship tends to understand omniscience as a point of view requiring disembodiment, clairvoyance, or omnipresence on the part of the omniscient narrator. In each of these paradigms, narrative omniscience circumvents the delimiting confines of a single character’s perspective. By contrast, “Omniscience Incarnate” grapples with the perplexing fact that the panoramic and synoptic expanse of omniscience often embraces character—even with its accompanying limitations—rather than refusing it. I trace how Victorian authors known for crafting narrators with sweepingly limitless perspectives—George Eliot, William Makepeace Thackeray, and Anthony Trollope—also repeatedly have these narrators materialize as characters within their storyworlds. Over and again, each narrator’s stance as a character—however brief, ii however delimited—paradoxically enables omniscient authority. These narrators reveal an epistemology that holds together the seeming contradiction of the embodied boundedness of character and the apparent unboundedness of narrative omniscience. I historicize this formal technique of incarnated omniscience within the nineteenth century when the omnisciently narrated novel had become a dominant cultural form. When the narrator appears in the storyworld, he or she lays bare multiple capacities of the novel form, including its facility for representing both the vast scope of multinational and historical conflicts as well as the private inner life of the individual. I examine three major repeating effects that are thrown into relief by the appearance of an omniscient narrator: how the narrator roots his or her knowledge of the narrative universe in diegetic experiences rather than claims of divinity; how the narrator negotiates the authority (or lack thereof) over narrative time and the capacity to narrate the past; and how the narrator justifies rendering other characters’ emotional and mental inner lives. By urging readers to make sense of an expansive omniscient point of view that roots itself within rather than outside the story space, incarnated narrators envision not only the characterological platform from which omniscience springs but also how one might negotiate and understand one’s being both in and of the world. iii The dissertation of Cristina Richieri Griffin is approved. Joseph E. Bristow Helen E. Deutsch Kent Puckett Jonathan H. Grossman, Committee Chair University of California, Los Angeles 2015 iv To Don Richieri Griffin, who stood alongside this dissertation from its beginning, and Villette Rose Griffin, who arrived for its end. v TABLE OF CONTENTS Introduction 1 I. The Origins of Omniscience 10 II. Omniscience and Character 16 III. Omniscience Incarnate: Secularism, History, Interiority 23 Chapter One: Eliot’s Sympathetic Narrators: The Sensory Spectrum of Secular Omniscience 28 I. Sympathy and the Senses 37 II. Sympathy and Omniscience: Feel to Know 64 Chapter Two: Thackeray’s “Present” Narrator: The Historical Experience of Omniscience 96 I. The Napoleonic Wars “Am Rhein” 102 II. Battle of Vitoria at the Hoftheater 114 III. Domestic History at the Hoftheater 123 Chapter Three: Trollope’s Observing Narrator: Photography and the Intimate Interiorities of Omniscience 135 I. Unwelcome Intrusions 143 II. Photographing the Mind 147 III. Observing Interior Spaces and Interior Lives 174 Coda 193 vi LIST OF FIGURES Figure 1. Thomas Cole, View from Mount Holyoke, Northampton, Massachusetts, after a Thunderstorm (The Oxbow), 1836. 3 Figure 2. Ghémar Frères, [Portrait of Queen Victoria seated, gazing at a photograph of Prince Albert], ca. 1862. 167 Figure 3. Clementina, Lady Hawarden, Clementina Maude, 5 Princes Gardens, ca. 1862–1863. 173 vii ACKNOWLEDGEMENTS To be in and of the world, this dissertation suggests, is at least in part to be in the company of others, and I am grateful that this dissertation has come of age in the best of company. My deepest thanks go to Jonathan Grossman; this work could not have been written without his unflagging support. Over and again, he has inspired clarity and curiosity, stretching my point of view with his painstaking attention to detail and infectious enthusiasm for honing an idea until it is just right. Ever my most exacting and most encouraging reader, he has made both this project and this scholar infinitely better for his guidance. Joseph Bristow has been a constant source of counsel and a model of pedagogical and professional generosity. From the start of this project, Joe’s careful and rigorous feedback helped me to see the work afresh and for this I am extremely thankful. Helen Deutsch, always a wellspring of insight and inspiration, enriched these pages with her matchless blend of encyclopedic knowledge and emboldening encouragement. I am incredibly grateful to Kent Puckett, who asked precisely the right questions at precisely the right times, challenging me to see this project’s most expansive reach. Many thanks to Sarah Kareem for her wholehearted support and to Christopher Mott for his unbridled optimism. Kristine Flaherty and Lauren Otero—fearless wordsmiths, fervent friends—have inspired me in more ways than they know. I am grateful to have had Ronjaunee Chatterjee, Jacquelyn Ardam, and Renee Hudson as my comrades in perpetual thinking; Sunday evenings spent with these fellow dissertators fortified my writing, week in and week out. Many thanks to the family members near and far who cheered me on, and a particular thanks to my cousin, Julia Richieri, who steered me toward Thomas Cole’s The Oxbow. I owe a special and long running debt to my parents, Nancy and Steve Richieri, for letting me stay up past my bedtime reading from the earliest evenings I can remember and for making this dissertation possible in more ways than viii one; to my sisters, Elise and Michelle, for sharing my boundless love of stories, no matter how many times we’ve encountered them together; and to my daily co-pilots, Don and Villette, for giving me joy immeasurable. ix VITA Education M.A., English, University of California, Los Angeles, 2010 B.A. with honors and university distinction, English and Psychology, Stanford University, 2007 Publication “Writing the Rhythms of the Womb: Alice Meynell’s Poetics of Pregnancy,” Modern Philology 112, no. 1 (August 2014): 226–48. Selected Conference Papers “Trollope’s Mobile Narrators: Negotiating Interiority and Free Indirect Discourse in a Material World,” Interdisciplinary Nineteenth-Century Studies Conference, Georgia Institute of Technology, April 2015 “Seen, Heard, and Touched: George Eliot’s Metaleptic Narrators and the Sensory Spectrum of Omniscience,” International Conference on Narrative, Massachusetts Institute of Technology, March 2014 “From Spinning Wheel to Printing Press: Networks of Single Women in Anne Thackeray Ritchie’s Fairy Tales,” North American Victorian Studies Association, University of Wisconsin, Madison, September 2012 Selected Awards and Fellowships Graduate Division Dissertation Year Fellowship, UCLA, 2014–2015 English Department Dissertation Research Fellowship, UCLA, 2013–2014 Mellon Foundation Graduate Fellowship for the Teaching of Literatures in English, 2013 English Department Teaching Excellence Award 2010 Humanities Division President’s Fellowship, UCLA, 2007–2008, 2010–2011 x INTRODUCTION Across the Victorian novel we repeatedly encounter narrators who declare and perform a capacity for narrative omniscience—a capacity that Kent Puckett eloquently calls a “masterful view of a whole social world with the ability to be anywhere and everywhere at once.”1 Many of these same narrators also, however, reveal their own presence within their novel’s narrative universe, exposing the fact that they also are inhabitants of their stories: each one a character among their characters. The omniscient narrator of William Makepeace Thackeray’s Vanity Fair (1847–48), for instance, announces a mere five chapters from his novel’s finale that he “first saw Colonel Dobbin and his party” in “the little comfortable ducal town of Pumpernickel,” while George Eliot’s The Mill on the Floss (1860) opens with a character ruminating on memories of “the broadening Floss” before this first-person point of view slips into third-person omniscient narration.2 Some narrators’ appearances are less memorable but no less formative: in Eliot’s first fiction, Scenes of Clerical Life (1857), the omniscient narrator recalls “smuggling bread-and- butter” into church as a boy growing up in the fictional town of Milby, while in Anthony Trollope’s Barchester Towers (1857) the omniscient narrator complains about the way Mr. 1 Kent Puckett, Bad Form: Social Mistakes and the Nineteenth-Century Novel (Oxford: Oxford University Press, 2008), 36. 2 William Makepeace Thackeray, Vanity Fair: A Novel without a Hero, ed. John Sutherland (Oxford: Oxford University Press, 1998), 185; George Eliot, The Mill on the Floss, ed. Carol T. Christ (New York: W. W. Norton & Company, 1994), 7. Hereafter, page references